Sadakichi Hartmann Papers

Total Page:16

File Type:pdf, Size:1020Kb

Sadakichi Hartmann Papers http://oac.cdlib.org/findaid/ark:/13030/tf7s2007q4 Online items available Sadakichi Hartmann papers Compiled by John Batchelor; machine-readable finding aid created by Apex Data Services Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives © 1999 The Regents of the University of California. All rights reserved. Sadakichi Hartmann papers MS 068 1 Descriptive Summary Title: Sadakichi Hartmann papers Date (inclusive): circa early 20th century, undated. Collection Number: MS 068 Creator: Hartmann, Sadakichi, 1867-1944 Extent: 84.0 linear feet(108 document boxes, multiple containers) Repository: Rivera Library. Special Collections Department. Riverside, CA 92517-5900 Abstract: Sadakichi Hartmann (1867-1944) was a writer, poet, dramatist, and critic during the early 20th century. Hartmann was an important figure in early modernism and had a diverse social circle that included Walt Whitman, Ezra Pound, and John Barrymore. This collection includes Hartmann's published works, unpublished manuscripts, correspondence, photographs, pastels, paintings, and diaries. Languages: English Access This collection is open for research. Publication Rights Copyright Unknown: Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction, and/or commercial use, of some materials may be restricted by gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing agreement(s), and/or trademark rights. Distribution or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. To the extent other restrictions apply, permission for distribution or reproduction from the applicable rights holder is also required. Responsibility for obtaining permissions, and for any use rests exclusively with the user. Preferred Citation [Identification of item], [date if possible]. Sadakichi Hartmann papers (MS 068). Special Collections & University Archives, University of California, Riverside. Processing History Compiled by John Batchelor, edited by Clifford Wurfel, with an introduction by Harry Lawton. Completed in 1980. Collection Scope and Contents Sadakichi Hartmann (1867-1944) was a writer, poet, dramatist, and critic during the early 20th century. Hartmann was an important figure in early modernism and had a diverse social circle that included Walt Whitman, Ezra Pound, and John Barrymore. This collection includes Hartmann's published works, unpublished manuscripts, correspondence, photographs, pastels, paintings, and diaries. A portion of this collection remains unprocessed. Please contact Special Collections & Archives for additional information regarding this material. Introduction (Historical Background) "The clapboard shanty known as "Catclaw Siding" is gone now, torn down many years ago, but in the summer of 1954 it stood on the desert flats of Morongo Indian Reservation, paint mostly worn away, wind rushing through its broken windowpanes. I was then a newspaper reporter, pursuing a story, and I badly wanted into the shack to see what secrets it contained. Ten years before it had been the last home of Sadakichi Hartmann (1867-1944), an almost forgotten American literary figure from the Mauve Decade. I studied the shack, carefully jotting down descriptive notes for my story. Then I walked away from it and knocked on the door of a nearby adobe house. The door was opened by a hauntingly beautiful woman with coal-black hair framing an olive-hued face. She listened suspiciously as I explained that I was a reporter and wanted to do a story on her late father, Sadakichi Hartmann. Then she slammed the door in my face. That was my introduction to Wistaria Hartmann Linton, who was to become a close friend and future collaborator with Professor George Knox and me in research on her father. Some weeks before Gene Fowler had published Minutes of the Last Meeting, a popular memoir detailing the escapades of John Barrymore, W. C. Fields, and other Hollywood celebrities during their last years. The most memorable character in his book was Sadakichi Hartmann, whom he called "the magnificent charlatan." Fowler portrayed Hartmann as an ancient relic of the earliest Bohemian days of Greenwich Village--now down on his luck, cadging drinks off Barrymore and various cronies for whom he performed as a witty and sarcastic court jester. There was much that was accurate in Fowler's Sadakichi Hartmann papers MS 068 2 portrayal of the half-Japanese, half-German writer, poet, dramatist, and critic. There was also much that was hearsay with no basis in fact. Fowler had a gift for telling a good story that would amuse readers, and he enjoyed making a good story better whenever possible. He embroidered upon many of the legends that had clung to Sadakichi Hartmann, dismissed the old man's real achievements as drunken boasts, and conducted only superficial research into his subject's past. The book was an instant best-seller and cause-célèbre that summer in the San Gorgonio Pass. Many long-time residents of the two Pass communities of Banning and Beaumont had known Hartmann--if only as an eccentric and mysterious figure with aristocratic manners who prowled their streets in a heavy overcoat, rumpled white hair poking from under a felt hat. In 1923, Hartmann had moved his family to Beaumont, and from that base he had made periodic forays to Hollywood, working on films, writing movie criticism, and joining the John Barrymore crowd as a drinking companion. In 1938, then in his 70's, Sadakichi had built his old-age shack, "Catclaw Siding" as he called it, on land owned by a Cahuilla cattlerancher, Walter Linton, who was then married to his daughter, Wistaria. Now ten years after his death everyone in the San Gorgonio Pass was reading about him in Fowler's book. I had never heard of Sadakichi Hartmann when the book came out. I found the book entertaining, accepted all of Fowler's tales at face value, and liked Sadakichi's mocking tongue and indomitable spirit. I was surprised to find those reader's of the book who had known Sadakichi best angry at Fowler's portrait. I believe the first criticism I heard about the book came from Mrs. George Lardner, Beaumont Librarian, who enjoyed discussing literature and often had invited Hartmann to her home for lunch. "I have yet to meet anyone who knew Sadakichi well who isn't disgusted by Fowler's book," she told me. Dr. Guy Bogart of Beaumont was also indignant. "He was a poseur, yes," admitted Bogart, "but a charlatan, no! If you read Fowler's book you'll see only a drunken moocher--the seedy old man Fowler met in his declining years. Yet Sadakichi was a rare personality, who never surrendered his ideals or artistic integrity for a moment." I was puzzled by the fact that most of those local people who had known Sadakichi agreed Fowler had captured much of the man's personality--yet they still considered the book an injustice. No one denied that Hartmann drank a lot, no one denied that he lived off a string of patrons, no one denied that much of his behavior was outrageous. Yet most of those who had any personal relationship with Sadakichi professed admiration and respect for him. For that matter, it was clear that Fowler had also admired Hartmann, perhaps even envied his strange charisma. As newspaper bureau chief for the Riverside Press-Enterprise Co. in the San Gorgonio Pass, I immediately saw the potential for an interesting feature story. I had particularly wanted to interview Mrs. Linton about her reactions to the book. But the door had slammed shut on me. Several days later, Ruth Little, a local newspaper writer and friend of Wistaria, persuaded her to talk with me. During an afternoon, I learned some of the reasons for Wistaria's reluctance to grant an interview. During the years of WWII, Hartmann's family had almost been interned because of his German-Japanese heritage. Many townspeople had ostracized the Hartmann family and circulated rumors that Sadakichi was a spy. Both the FBI and County Sheriff's Department had hounded the family with endless questions, and sheriff's deputies in patrol cars often followed family members when they left home. Some of Hartmann's children had been embarassed by his unconventionality and flamboyant Bohemianism. They were the children of his second marriage to Lillian Bonham, and none of them had known their father at the peak of his career in New York at the turn of the century, when he had made and spent money freely. Instead, they had grown up in the midst of the Depression in the middle-class atmosphere of San Gorgonio Pass--with a father who boasted of past triumphs and didn't care what the neighbors thought of him. Fowler's book with its suggestion that Hartmann was a charlatan evoked mostly bad memories. Even so, Mrs. Linton admitted that she had laughed at parts of the book: "Some of it seemed so much like Dad!" "Catclaw Siding" had been closed since Sadakichi's death in 1944. Now Mrs. Linton agreed to let me look inside the shack. She turned a key in the padlock and we entered. A rain-stained "History of Modern Painting" at which mice had nibbled lay on the splintered floor. Rotted floorboards exposed bare sand beneath. In a corner of the shack was a battered grey trunk--Sadakichi's manuscript trunk. I lifted the lid, sifted through the papers, and was stunned by its contents. Inside were piles of unpublished manuscripts, published articles, short stories, and poetry, and immense bundles of correspondence. I picked up one of the letters and read the name Ezra Pound.
Recommended publications
  • Rhyming Pattern Selection in Japanese Short Poetry
    Original Paper________________________________________________________ Forma, 21, 259–273, 2006 Statistical Prosody: Rhyming Pattern Selection in Japanese Short Poetry Kazuya HAYATA Department of Socio-Informatics, Sapporo Gakuin University, Ebetsu 069-8555, Japan E-mail address: [email protected] (Received August 5, 2005; Accepted August 2, 2006) Keywords: Quantitative Poetics, Rhyme, HAIKU, TANKA, Bell Number Abstract. Rhyme patterns of Japanese short poetry such as HAIKU, SENRYU, SEDOKAs, and TANKAs are analyzed by a statistical approach. Here HAIKU and SENRYU are poems composed of only seventeen syllables, which can be segmented into five, seven, and five syllables. As rhyming both head and end rhymes are considered. Analyses of sampled works of typical poets show that for the end rhyme composers prefere the avoided rhyming, whereas for the head rhyme they compose poems according to the stochastic law. Subsequently the statistical method is applied to a work of SEDOKAs as well as to those of TANKAs being written with three lines. Evaluation of the khi-square statistics shows that for a certain work of TANKAs the feature being identical to that of HAIKU is seen. 1. Introduction Irrespective of languages, texts are categorized into proses and verses. Poems, in general, take the form of the latter. Conventional poetics has classified poems into a variety of forms such as a lyric, an epic, a prose, a long, and a short poem. One finds that in typical European poetry a sound on a site in a line is correlated to that on the same site in another line in an established form. Correlation among feet of lines is termed end rhyme in contrast to the head rhyme for the one among heads of lines (SAKAMOTO, 2002).
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
    [Show full text]
  • Sadakichi and America
    art credit rule should be: if on side, then in gutter. if underneath, then at same baseline as text page blue line, raise art image above it. editorial note editorial note THOMAS obody called him Carl, the name he shared with CHRISTENSEN his father, Carl Herman Oskar Hartmann. To N Walt Whitman he was “that Japanee.” To W. C. Fields he was “Catch-a-Crotchie,” “Itchy-Scratchy,” or “Hoochie-Coochie.” To the critic James Gibbons Huneker Sadakichi he was “a fusion of Jap and German, the ghastly experi- ment of an Occidental on the person of an Oriental,” and and America years later John Barrymore would call him “a living freak presumably sired by Mephistopheles out of Madame But- A case of terfy.” A 1916 magazine profle (calling him “our weirdest poet”) insisted he was “much more Japanese than Ger- taken identity man.” During World War II, because of his Japanese and German heritage, he was accused of being a spy, and he barely escaped internment. More recently, in 1978, schol- ars Harry W. Lawton and George Knox, in their intro- After all, not to create only, or found only, duction to his selected photography criticism, The Valiant But to bring, perhaps from afar, Knights of Daguerre, presented him as “Sadakichi Hart- what is already founded, mann (1867–1944), the Japanese-German writer and critic.” To give it our own identity, average, limitless, free; And so Hartmann is usually introduced, as if his ethnicity To fll the gross, the torpid bulk were the most important thing about him. But despite his with vital religious fre; ancestry Carl Sadakichi Hartmann was not Japanese or Not to repel or destroy, so much as German—he was an American.
    [Show full text]
  • Kosztolányi Dezső Japán Versfordításai
    Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ KOLOZSY-KISS ESZTER KOSZTOLÁNYI DEZSŐ JAPÁN VERSFORDíTÁSAI Irodalomtudományi Doktori Iskola Vezetője: Dr. Kulcsár Szabó Ernő egyetemi tanár Összehasonlító Irodalomtudomány Program Vezetője: Dr. Szegedy-Maszák Mihály egyetemi tanár A bizottság elnöke: Dr. Györffy Miklós CSc., egyetemi tanár Hivatalosan felkért bírálók: Dr. Angyalosi Gergely CSc. Dr. Székács Anna PhD. A bizottság titkára: Dr. Kappanyos András PhD. A bizottság további tagjai: Dr. Hidasi Judit CSc., egyetemi tanár Dr. Ferber Katalin PhD. Témavezető: Dr. Szegedy-Maszák Mihály MHAS., egyetemi tanár Budapest, 2010 1 I. FEJEZET KOSZTOLÁNYI DEZSŐ, A FORDÍTÓ Bevezetés „Fordítani nem lehet, csak átültetni, újrakölteni.”1 Az irodalom művelőinek, a költőknek, íróknak fontos szerep jut a társadalomban, s pontosan meg tudjuk határozni az irodalomtörténész és az irodalomkritikus helyét is. A műfordító azonban mintha kimaradna e felsorolásból. A közvélemény – melyet semmiképpen sem ajánlatos értékformáló mérceként beállítani – még a mai napig is azt a véleményt osztja, miszerint annak a műfordítónak, aki prózát fordít, egyben írónak is kell lennie, és nem nevezhető „igazi” műfordítónak az, aki lírát annak ellenére fordít, hogy önálló kötete valaha is megjelent volna. Sokat változott az idők folyamán a műfordítói szerep, maga a fordítás a szakfordítás szinonimájává vált, melyről sokaknak egy gyári munkához hasonló mechanikus folyamat jut eszébe. Amíg azonban egy tolmácstól elvárható, hogy folyékonyan beszélje az
    [Show full text]
  • A Zen Harvest
    Begin Reading Table of Contents About the Authors Copyright Page Thank you for buying this Farrar, Straus and Giroux ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on Sōiku Shigematsu, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Maya and Sōjun Foreword There is no concept or archetype in Zen Buddhism that does not self-destruct. The Diamond Sutra says, “The Buddha does not have the thirty-two marks of the Buddha, therefore he (or she) is called Buddha.” Buddha, shunyata, prajna, maya—all are provisional. With such transparent and ephemeral terminology and imagery Zen Buddhism becomes American, Australian, Polish, and Argentine, while Confucianism remains Chinese, however skillfully it is translated. Heidegger remains German in the most fluent Japanese. Zen is poetry, as R. H. Blyth said.1 Poetry might use unfamiliar words and names, but these can be looked up, and when they are clear East and West can smile together. Paradise is None of my business, but I’ve got to go Help Amitabha Buddha Who works there. I find this Dharma song in Sōiku Shigematsu’s collection to be reminiscent of Gary Snyder’s American haiku: You be Bosatsu, I’ll be the taxi driver Driving you home.2 Amitabha is the Buddha of Infinite Light and Life who guides us to the Western Paradise when we die.
    [Show full text]
  • Elias Goldensky: Wizard of Photography' Gary D
    Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty.
    [Show full text]
  • Mixed Race Capital: Cultural Producers and Asian American Mixed Race Identity from the Late Nineteenth to Twentieth Century
    MIXED RACE CAPITAL: CULTURAL PRODUCERS AND ASIAN AMERICAN MIXED RACE IDENTITY FROM THE LATE NINETEENTH TO TWENTIETH CENTURY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES MAY 2018 By Stacy Nojima Dissertation Committee: Vernadette V. Gonzalez, Chairperson Mari Yoshihara Elizabeth Colwill Brandy Nālani McDougall Ruth Hsu Keywords: Mixed Race, Asian American Culture, Merle Oberon, Sadakichi Hartmann, Winnifred Eaton, Bardu Ali Acknowledgements This dissertation was a journey that was nurtured and supported by several people. I would first like to thank my dissertation chair and mentor Vernadette Gonzalez, who challenged me to think more deeply and was able to encompass both compassion and force when life got in the way of writing. Thank you does not suffice for the amount of time, advice, and guidance she invested in me. I want to thank Mari Yoshihara and Elizabeth Colwill who offered feedback on multiple chapter drafts. Brandy Nālani McDougall always posited thoughtful questions that challenged me to see my project at various angles, and Ruth Hsu’s mentorship and course on Asian American literature helped to foster my early dissertation ideas. Along the way, I received invaluable assistance from the archive librarians at the University of Riverside, University of Calgary, and the Margaret Herrick Library in the Beverly Hills Motion Picture Museum. I am indebted to American Studies Department at the University of Hawai‘i at Mānoa for its support including the professors from whom I had the privilege of taking classes and shaping early iterations of my dissertation and the staff who shepherded me through the process and paperwork.
    [Show full text]
  • Sadakichi Hartmann and Yone Noguchi
    Smith ScholarWorks English Language and Literature: Faculty Publications English Language and Literature 5-23-2019 Strategic Hybridity in Early Chinese and Japanese American Literature Floyd Cheung Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/eng_facpubs Part of the English Language and Literature Commons Recommended Citation Cheung, Floyd, "Strategic Hybridity in Early Chinese and Japanese American Literature" (2019). English Language and Literature: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/eng_facpubs/12 This Article has been accepted for inclusion in English Language and Literature: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] Strategic Hybridity in Early Chinese and Japanese American Literature Floyd Cheung, Department of English Language and Literature, Smith College https://doi.org/10.1093/acrefore/9780190201098.013.909 Published online: 23 May 2019 Summary Early Chinese and Japanese American male writers between 1887 and 1938 such as Yan Phou Lee, Yung Wing, Sadakichi Hartmann, Yone Noguchi, and H. T. Tsiang accessed dominant US publishing markets and readerships by presenting themselves and their works as cultural hybrids that strategically blended enticing Eastern content and forms with familiar Western language and structures. Yan Phou Lee perpetrated cross-cultural comparisons that showed that Chinese were not unlike Europeans and Americans. Yung Wing appropriated and then transformed dominant American autobiographical narratives to recuperate Chinese character. Sadakichi Hartmann and Yone Noguchi combined poetic traditions from Japan, Europe, and America in order to define a modernism that included cosmopolitans such as themselves. And H. T. Tsiang promoted Marxist world revolution by experimenting with fusions of Eastern and Western elements with leftist ideology.
    [Show full text]
  • Poetic Forms Haiku As an Example May 7, 2018 IWN Hilton Head Island, SC Silence Between Words Stories
    Poetic Forms haiku as an example May 7, 2018 IWN Hilton Head Island, SC silence between words stories desert stretched to the horizon silence pond lilies FloatinG in their centers silence silence in a rain shower seven colors winter leaves buds oF tiGhtly rolled silence silence around a waitinG bird the nest silver-tipped Firs snow deepening silence silence between crashinG waves the brieFness oF Foam riptide in the sea the pull oF silence silence drawinG toGether lovers a silver cord a blossom’s dance the urGe deep within silence Jane Reichhold BeinG aware Being nonjudgmental BeinG reverent HavinG a sense oF oneness Having a sense of simplicity Having humility Poetic Forms Line Content beyond • Each line • Repetition • Presentation • Line • Development • Craft orGanization • Elements Guidance • Theme • Personal rules/ideas Tanka 5-7-5-7-7 RenGa /Renku Haiku also7-7-7-5(dodoitsu),7-5-7-5 (iroha). And 5-7-5-7.(nagauta) . Haiku and Tanka Possibly my Guardian anGel a winter sparrow (Sanki) Possibly my Guardian anGel a winter sparrow I shot it and went home with the smell oF gunpowder (Shuji) Terayama Shuuji (1935 -1983) after the haiku by Saitou Sanki (1900 – 1962): Fast Poem: short, simple, visual Issa Goes out, comes back: love oF liFe oF a cat The man pullinG radishes points my way with a radish Deer lickinG First Frost From one another’s coats Even with insects, some can sinG, some can’t Not very anxious to bloom, my plum tree Not knowinG it’s in a kitchen, the Fish coolinG in a tub Haiku in Japanese & in English 1 line 3 lines* 5-7-5 sounds 5-7-5 syllables* Season words EnGlish lanGuage/ Japanese western, lanGuage/cultural American cultural backGround backGround Haiku in EnGlish (new) Traditional • Seven accented jeep tracks syllables, plus over deer tracks unaccented syllables up in the new snow to 12 (William R.
    [Show full text]
  • Atlas Poetica Journal of World Tanka Poetry 30
    ATLAS POETICA A Journal of World Tanka Number 30 M. Kei, editor 2017 Keibooks, Perryville, Maryland, USA KEIBOOKS P O Box 516 Perryville, Maryland, USA 21903 AtlasPoetica.org Atlas Poetica A Journal of World Tanka Copyright © 2017 by Keibooks All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by reviewers and scholars who may quote brief passages. See our EDUCATIONAL USE NOTICE. Atlas Poetica : A Journal of World Tanka, an organic print and e-journal published at least three times a year. Atlas Poetica is dedicated to publishing and promoting world tanka literature, including tanka, kyoka, gogyoshi, tanka prose, tanka sequences, shaped tanka, sedoka, mondo, cherita, zuihitsu, ryuka, and other variations and innovations in the field of tanka. We do not publish haiku, except as incidental to a tanka collage or other mixed form work. Atlas Poetica is interested in all verse of high quality, but our preference is for tanka literature that is authentic to the environment and experience of the poet. While we will consider tanka in the classical Japanese style, our preference is for fresh, forward-looking tanka that engages with the world as it is. We are willing to consider experiments and explorations as well as traditional approaches. In addition to verse, Atlas Poetica publishes articles, essays, reviews, interviews, letters to the editor, etc., related to tanka literature. Tanka in translation from around the world are welcome in the journal.
    [Show full text]
  • UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Race and Role: The Mixed-race Asian Experience in American Drama Permalink https://escholarship.org/uc/item/9qv6d1mn Author Heinrich, Rena M. Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Race and Role: The Mixed-race Asian Experience in American Drama A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Rena M. Heinrich Committee in charge: Professor Christina S. McMahon, Chair Professor Ninotchka Bennahum Professor Paul Spickard June 2018 The dissertation of Rena M. Heinrich is approved. ____________________________________________ Ninotchka Bennahum ____________________________________________ Paul Spickard ____________________________________________ Christina S. McMahon, Committee Chair June 2018 Race and Role: The Mixed-race Asian Experience in American Drama Copyright © 2018 by Rena M. Heinrich iii ACKNOWLEDGEMENTS I am deeply indebted to my committee members Drs. Christina S. McMahon, Ninotchka Bennahum, and Paul Spickard for their endless support, crucial mentorship, enthusiastic cheerleading, and abundant wisdom. I thank the faculty, the staff, and my colleagues in the Department of Theater and Dance for their generosity of spirit and their unwavering belief in my endeavors. I am especially indebted to Blythe Foster, Ming Lauren Holden, Yasmine M. Jahanmir, Kelli Coleman Moore, Rachel Wolf, and Rebecca Wear for looking after my children and making it possible to do this work. I thank the Department of Asian American Studies—faculty, staff, and fellow teaching assistants for their kindness, support, and good cheer. I thank my colleagues in the Department of History for their many hours of caring feedback.
    [Show full text]
  • Kanshi, Haiku and Media in Meiji Japan, 1870-1900
    The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert James Tuck Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Robert Tuck All Rights Reserved ABSTRACT The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert Tuck This dissertation examines the influence of ‘poetic sociality’ during Japan’s Meiji period (1867-1912). ‘Poetic sociality’ denotes a range of practices within poetic composition that depend upon social interaction among individuals, most importantly the tendency to practice poetry as a group activity, pedagogical practices such as mutual critique and the master-disciple relationship, and the exchange among individual poets of textually linked forms of verse. Under the influence of modern European notions of literature, during the late Meiji period both prose fiction and the idea of literature as originating in the subjectivity of the individual assumed hegemonic status. Although often noted as a major characteristic of pre-modern poetry, poetic sociality continued to be enormously influential in the literary and social activities of 19th century Japanese intellectuals despite the rise of prose fiction during late Meiji, and was fundamental to the way in which poetry was written, discussed and circulated. One reason for this was the growth of a mass-circulation print media from early Meiji onward, which provided new venues for the publication of poetry and enabled the expression of poetic sociality across distance and outside of face-to-face gatherings. With poetic exchange increasingly taking place through newspapers and literary journals, poetic sociality acquired a new and openly political aspect.
    [Show full text]